Yang was born 10 November 1958 in the Wen Qiang village, Cibihu town of Dali, Yunnan province.	杨丽萍于 1958 年 11 月 10 日出生在云南省大理州茈碧湖镇文强村。
She the eldest of four children.	她在四个孩子中排行老大。
Her parents and grandparents, members of the Bai ethnic minority, were farmers in a nearby village.	她的父母和祖父母都是白族，是附近村庄的农民。
Her grandmother was a singer in the village.	她的祖母是村里的一名歌手。
Yang began her formal dance training at the late age of 11, at a dance troupe in the Xishuangbanna area of Yunnan, after her family moved to the area.	11 岁时，杨家搬到了云南西双版纳地区，随后杨丽萍加入了一个舞蹈团并开始了正规的舞蹈训练。
In the Southern flatlands of Yunnan, Xishuangbanna borders the country of Burma and is dominated by the Dai ethnic group, whose Peacock dance she would become synonymous with.	西双版纳云南南部的平原，与缅甸接壤，是傣族的聚居地，她跳的孔雀舞就是傣族的代名词。
In her early 20's, after she moved to Beijing to dance with the Central Nationalities Song and Dance Ensemble, she made the peacock dance her own, recasting parts of it with deft arm and finger movements.	在 20 岁出头时，她因调入中央民族歌舞团而前往北京，把孔雀舞变成了自己的舞蹈，用灵巧的手臂和手指动作重新塑造了孔雀舞的一部分。
In 1986, that choreography and dance won her first prize in a national competition.	1986 年，她编排和表演的这一舞蹈在全国比赛中获得了第一名。
She rose to national level fame in 1986 when she won first prize in a national dance competition for her original solo "Spirt of the Peacock" (雀之灵).	1986 年，她的原创独舞《雀之灵》在全国舞蹈比赛中获得第一名，从而在全国一举成名。
Ever since, she has been dubbed the "Peacock Princess".	从那时起，她就被称为“孔雀公主”。
She was the director, choreographer and star of "Dynamic Yunnan", a show that drew sellout crowds all over China.	她是《云南映象》的导演、编舞和主演，这部舞台剧在中国吸引了大批观众。
She toured Europe and the United States in 2005.	2005 年，她在欧洲和美国开展了巡回演出。
Between 2004 and 2008, Yang Liping directed and choreographed a trilogy: "Dynamic Yunnan", "Echoes of Shangri-la" and "Tibetan Myth".	2004 年至 2008 年期间，杨丽萍导演并编排了三部曲：《云南映象》、《香格里拉的回音》和《西藏神话》。
In 2004, "Dynamic Yunnan" won five major awards at the National Lotus Awards, including Gold Award for Dance Spectacular, Best Choreography and Best Female Performer.	2004 年，《云南映象》获得中国舞蹈“荷花奖”的五个奖项，包括舞蹈诗金奖、最佳编导奖和最佳女主角奖等。
To create the exotic song and dance spectacular "Dynamic Yunnan", Yang spent years traveling to remote villages of the 26 ethnic minority tribes in Yunnan and selected over 60 peasants who had the natural gift of song and dance, from whom she built an archive re-creating this rich feast of sight and sound.	为了创作充满异域风情的歌舞表演《云南映像》，杨花费数年时间走访云南省 26 个少数民族部落所在的偏远村寨，挑选了 60 多位具备歌舞天赋的农民，依靠这些人，她建立起一座能重现这一视听盛宴的档案库。
In May 2009, she revealed a dance and music production 'Yunnan Sound', at the Yunnan Art Institute's Experimental Theater.	2009 年 5 月，她在云南艺术学院试验剧场展示了一部名为《云南的响声》的舞蹈和音乐作品。
On November 17, 2009, US President Barack Obama is visit to China, she performed the classic dance "The Spirit of the Birds" at the Great Hall of the People.	2009 年 11 月 17 日，美国总统奥巴马到访中国，她在人民大会堂表演了经典舞蹈《雀之灵》。
She is currently a judge on So You Think You Can Dance China.	她目前担任《舞林争霸》节目的评委。
Yang's first husband was a colleague of the Central National Song and Dance Troupe and later divorced.	杨的第一任丈夫是中央民族歌舞团的同事，后离婚。
The current husband, Liu Yuqing, is a Taiwanese-American.	现任丈夫刘淳晴是一名美籍台胞。
They couple met in 1990 and married in 1995, but Yang wants to dance long-term dieting and cannot be pregnant.	两人于 1990 年相识，1995 年结婚，但杨想要跳舞，长期节食，因而无法生育。
After getting her bachelor's degree in Architecture at the National Central University in Chongqing, China, Wang Chiu-Hwa moved to Seattle to continue her studies at the University of Washington in 1946.	从中国重庆的中央大学取得建筑学学士学位之后，王秋华于 1946 年前往位于西雅图的华盛顿大学继续深造。
She then studied a Masters of Architecture at Columbia University in New York.	之后她在纽约的哥伦比亚大学攻读建筑学硕士。
From 1953 to 1979, Wang Chiu-Hwa worked with American architect Percival Goodman in New York.	1953 年至 1979 年，王秋华在纽约与美国建筑师珀西瓦尔·古德曼一起工作。
She began working for him part-time as designer while still his student, and then worked for him full-time for almost thirty years, starting as an associate in 1960 and then becoming a partner.	她在作为他的学生时就已开始担任他的兼职设计师，随后为他全职工作近三十年，一开始在 1960 年担任助理，之后成为合伙人。
Goodman exerted great influence on her architectural ideas; like Goodman, she strongly believes in the notion of the architect as having a social responsibility through their work.	古德曼对她的建筑理念产生了极大的影响；与古德曼一样，她坚信建筑师通过自身工作而承担社会责任。
Wang Chiu-Hwa returned to Taiwan in 1979.	王秋华于 1979 年回到台湾。
She began teaching at the Taipei Institute of Technology and Tamkang University, and served as architectural consultant to a number of public institutions.	她开始在台北科技大学和淡江大学任教，并担任多家公共机构的建筑顾问。
In 1983, after collaborating with architect Joshua J. Pan on the Chung Yuan Christian University library, she started her own practice and has since been working in joint venture with J. J. Pan and Partners, Architects and Planners, on a number of projects.	1983 年，在与建筑师潘冀合作完成中原大学图书馆之后，她开始独立执业，此后一直与潘冀联合建筑师事务所在许多项目上进行合作。
Wang Chiu-Hwa's architectural designs are modernistic, with emphasis on environmental totality and scale.	王秋华的建筑设计为现代主义风格，强调环境整体性和规模。
In 1983–85, she designed the main library of Chung Yuan Christian University, which exemplifies her sense of spatial planning.	1983-85 年，她设计了中原大学的主图书馆，这一建筑体现出她的空间规划意识。
It has a holding capacity of 700,000 volumes, a conference room with room for 150 people, and a study room with room for 800 people.	该馆可藏书 70 万册，有一间可容纳 150 人的会议室，还有一间可供 800 人使用的自习室。
Its multiple-entry plazas and sunken gardens were designed to encourage socialising.	其多入口广场和下沉式花园的设计旨在鼓励社交。
A special feature of the library is the attention given to energy conservation.	该图书馆的一大特点是注重节能。
Natural lighting and ventilation were made possible through the use of double-height spaces, also providing visual fluidity and transparency.	通过采用双层挑高空间，实现自然光照和通风，同时还带来视觉上的流动性和透明度。
This was her first major project after returning to Taiwan, and it won her the Taiwan Provincial Building Design Award and the National Building Design Award for Passive Energy Efficiency.	这是她回到台湾之后的首个大项目，为她赢得台湾省政府优良建筑设计奖和“内政部”建筑节约能源优良设计奖。
Over the next three decades, she designed a number of large and award-winning buildings in Taiwan, including but not limited to:	之后的三十年间，她在台湾设计了许多获奖的大型建筑，包括但不限于：
1986: Precision Instruments Development Center for the National Science Council	1986 年：国科会精密仪器发展中心
1988: Medical Research Building & Conference Center for Veterans’ Hospital in Taichung	1988 年：台中荣民总医院研究大楼及会议中心
1989: Gymnasium at Chung Yuan Christian University	1989 年：中原大学体育馆
1989: Main Library of National Chang Hwa Normal University	1989 年：国立彰化师范大学图书馆
1991–97: Doctors’ Dormitory of Taichung Veterans General Hospital	1991-97 年：台中荣总医护单身宿舍
1993: Main Library and Information Sciences Center at the National Chung Cheng University	1993 年：国立中正大学图书馆及资讯中心
1998: Founder's Memorial Library at the Chinese Culture University in Taipei	1998 年：台北中国文化大学创办人纪念图书馆
1997–2004: Holistic Education Village at Chung Yung Christian University	1997-2004 年：中原大学全人教育村
2000–2005: Gymnasium at Chinese Culture University	2000-2005 年：中国文化大学体育馆
Recognized for her many achievements, she was named Outstanding Architect of Taiwan ROC in 2003.	她的众多成就获得认可，在 2003 年被评为中华民国杰出建筑师。
Chunghwa Telecom is the largest telecommunication service provider in Taiwan and one of the largest in Asia in terms of revenue.	中华电信是台湾最大的电信服务提供商，也是亚洲收入最高的电信服务提供商之一。
In terms of both revenue and customers, Chunghwa is Taiwan's largest provider of fixed line services, mobile services, broadband access service, and Internet service.	就收入和客户而言，中华电信是台湾最大的固定电话服务、移动服务、宽带接入服务和互联网服务提供商。
The company also provides information and communication technology services to corporate customers.	该公司还为企业客户提供信息和通信技术服务。
HiNet has been heavily criticised for being a haven for senders of email spam, which has resulted in many Internet service providers routinely blocking e-mails originating from the service.	HiNet 因成为垃圾邮件发送者的避风港而饱受批评，这导致许多互联网服务提供商通常拦截来自该服务的电子邮件。
Senao International, a cellular phone distributor from which Senao Networks, manufacturer of data networking products and wireless telephones under the EnGenius and Senao brands was spun off.	森奥国际是一家手机分销商，生产 EnGenius 和森奥品牌的数据网络产品和无线电话机的森奥网络从中剥离出来。
Chen Long-bin was born in 1964 in Taipei, Taiwan.	陈龙斌 1964 年出生于台湾台北。
He received a BFA from the Fine Arts Department at Tunghai University, and an MFA from the School of Visual Arts in New York.	他获得东海大学美术系艺术学士学位和纽约视觉艺术学院艺术硕士学位。
He is known for using the cultural debris of our modern society, such as old, discarded books, newspapers, phonebooks, and magazines as the medium for his sculptures.	他以使用我们现代社会的文化碎片作为雕塑媒介而闻名，例如被丢弃的旧的书籍、报纸、电话簿和杂志。
Chen is self-taught in carving wood, but started showing interest in our paper culture as a viable material for art – phonebooks, magazines, and computer paper when PC’s began growing popular in 1993.	陈龙斌自学木雕，当个人电脑在 1993 年开始流行时，他开始表现出对于把我们的纸文化（电话簿、杂志和电脑用纸）作为一种可行的艺术材料的兴趣。
The advent of the personal computer changed the entire nature of information documentation – a role books used to play.	个人电脑的出现彻底改变了信息记录的性质，书本曾经发挥这一作用。
Thus, by turning paper into the original wood for his sculptures, Chen offers renewed value to the meaning of paper.	因此，通过把纸变成其雕塑的原木，陈龙斌为纸张赋予了新的价值。
He uses chainsaws, drills, band saws, sanders, and scissors, along with other carpenter's tools to shape his remarkable busts and figures, which appear stone, or even marble like from a distance.	他使用电锯、钻头、带锯、打磨机和剪刀，以及其他木匠工具来塑造他出众的半身像和人像，从远处看就像是石头甚至是大理石。
Chen who has won prizes in Europe, Taipei, and Japan, has exhibited extensively at galleries and museums for many years in Japan, Korea, France, (Germany), Hong Kong, Italy, London, Singapore, Taiwan, and the United States, and can also be found in numerous international public and private collections.	陈龙斌曾在欧洲、台北和日本获奖，多年来在日本、韩国、法国、（德国）、香港、意大利、伦敦、新加坡、台湾和美国的画廊及博物馆大量展出，也出现在众多国际公开及私人收藏中。
He has been awarded artist fellowship grants from Taiwan's National Endowment for the Arts, the Joan Mitchell Foundation in New York and the Freeman Foundation.	他曾获得台湾国家艺术基金会、纽约琼·米切尔基金会和弗里曼基金会的艺术家奖金资助。
In 1995, he received the Visitor's Prize of the Sixth Triennial of Small Scale Sculpture in Stuttgart, Germany.	1995 年，他在德国斯图加特获得第六届小型雕塑三年展观众票选奖。
And in 1998, he received the Silver Prize at the Osaka Triennial in Japan.	1998 年，他在日本获得大阪三年展银牌奖。
For Chen, using recycled materials to make art stresses the challenges presented by endless human consumption and waste, as well as the tantamount ecological problems of waste accumulation and disposal, the destruction of forests, and the mindless use of nonrenewable resources.	对陈龙斌而言，使用回收材料进行艺术创作突出了人类无休止的消费和浪费所带来的挑战，以及垃圾积累及处理、破坏森林和盲目使用不可再生资源所造成的巨大生态问题。
The reams of used computer paper disprove the assurance of the electronic paper-less office, which instead augments the use of paper, as printing is made much easier.	成堆的废旧电脑纸反驳了信誓旦旦的电子无纸化办公，由于打印变得更加便捷，这种做法反而增加了纸张使用。
Furthermore, his choice of medium also poses as a commentary on the loss of books as aesthetic objects, which have been replaced by mass-produced cheaply made paperbacks.	此外，他对媒介的选择也对书籍不再是审美对象进行了实况报道，书籍已被大规模生产的廉价纸质书所取代。
Books are extremely important to Chen.	书籍对陈龙斌而言极其重要。
However, it is not the book itself, but its educational heritage, literary importance, historical knowledge, and the sacredness of the written word that he treasures most.	然而，他最珍视的不是书籍本身，而是书的教育遗产、文学重要性、历史知识和文字的神圣性。
The type of materials he acquires in a sense determines the sculpture he creates.	他获得的材料类型在某种意义上决定了他创作的雕塑。
While in New York, he scoured the streets of Manhattan collecting discarded refuse, scouted offices for their rejected reams of paper, visited brownstone streets to gather cast off telephone books when new ones were distributed.	在纽约时，他在曼哈顿街头四处搜寻被人丢弃的垃圾，在办公室里寻找被人丢弃的成堆纸张，在分发新的电话簿时走访褐沙石街道，收集被人扔掉的电话簿。
And now, living in Taipei, Chen obtains his material from university libraries and bookstores, publishing companies, archeological museums, and telephone companies.	而现在，住在台北的陈先生从大学图书馆和书店、出版公司、考古博物馆以及电话公司获得自己的材料。
The special quality of Chen's works is that people can still read the pages.	陈龙斌作品的特殊之处在于人们依然能翻阅这些书页。
“I try to make sculptures that are appropriate for the content of the books.	“我尝试制作适合书籍内容的雕塑。
In my concept, the form and content is united together; the content gives me the idea of the form.	在我的理念中，形式和内容是结合在一起的；内容给了我关于形式的想法。
Yellow Pages give me one kind of idea; books discarded from libraries inspire different styles…" Often, his art reflects the content of the pages within, such as one hanging installation featuring spirals of books with peepholes in which one can view a scene from the story within the original pages.	黄页给我一种想法；图书馆丢弃的书启发了不同的风格...”通常，他的艺术作品反应书页里的内容，比如一个带有窥视孔的螺旋型书籍悬挂装置，人们可以查看原书页中的故事场景。
Starting from 2, the Tourism Bureau integrated civilian and local governmental resources to conduct the event to celebrate the Lantern Festival (fifteenth day of the first month in the lunar calendar) and the end of the Chinese New Year.	从 2 开始，旅游局整合民间和地方政府资源，开展活动庆祝灯节（农历正月十五）以及春节结束。
The purpose of the festival is to spread the traditional folklore.	该节日的目的是传播传统民俗。
It is also known as the Yuan Xiao Festival.	也称为元宵节。
The firecrackers ceremony of the Wumiao temple in Yanshui District was held by ancient people, in order to show respect for the exploits of Guan Yu.	古人在盐水区的武庙举行鞭炮燃放仪式，以表对关羽功绩的尊重之情。
Fengpao is the ceremony to start to burn thousands of soaring firecrackers hung on a five to twenty-five meters high wooden stand.	蜂炮作为开始仪式，点燃数千个悬挂在 5-25 米高的木架上的冲天炮。
This ceremony starts from six o'clock in the afternoon until five o'clock in the morning.	这一仪式从下午六点开始，直至凌晨五点结束。
Thousands of people and visitors attend the ceremony.	数以千计的百姓和游客参加这一仪式。
The festival is the most important annual lantern festival in Taiwan.	 该节日是台湾最为重要的年度灯会。
Prior to 26, the event was held at Chiang Kai-shek Memorial Park in Taipei.	26 之前，活动在台北的中正纪念公园举行。
Since 2001, the event has toured Taiwan.	自 2001 年以来，该活动在台湾巡回举行。
The American Discovery Channel's program "Fantastic Festivals of the World" has highlighted the Taiwan Lantern Festival as one of the best festivals in the world.	美国的探索频道节目《世界最佳节庆》将台湾灯会列为世界最佳节庆之一。
Taiwanese people write their wishes on the lanterns with a belief to bring an abundant crop.	台湾人把自己的愿望写在灯笼上，相信能带来丰收。
Women wish for a new son to earn more hands to work.	妇女希望能生一个儿子，以增加干活的人手。
These lanterns fly to the sky, bring their wishes to the Gods, and alternatively speak all dreams them that being blessed with luck and good things.	这些灯笼飞向天空，把他们的愿望带给神灵，或者说所有人都梦想着被神保佑，能有好运和好事。
The theme of the main lanterns often corresponds with the zodiac signs of Chinese astrology.	主灯的主题往往与中国十二生肖相一致。
All of them are over ten meters tall.	它们均超过 10 米高。
Since 123, every main lantern has its own theme music which is about 3 days in length and plays the rhythm when making performances during Taiwan Lantern Festival.	自 123 开始，每盏主灯都有自己的主题音乐，大约 3 天，在台湾灯会期间进行表演时奏乐。
The smaller lanterns, often carried by children or placed on temples, show images of historical figures, birds, or images from that year's theme.	小一些的灯笼通常由儿童提着或摆在寺庙上，展示历史人物、鸟类、或当年主题的图像。
As early as the late Qing dynasty, many vendors were already selling beef slices served cold in the streets of Chengdu, using beef offal because they were relatively inexpensive.	早在清朝末年，许多小贩已在成都街头售卖牛肉片冷盘，因为牛下水价格相对便宜，所以用其制作冷盘。
Because of its low cost, the dish was popular among rickshaw pullers and poor students.	由于成本低，这道菜很受人力车夫和穷学生欢迎。
In the 1930s, a married couple in Chengdu became famous for making beef slices.	20 世纪 30 年代，成都有一对夫妻因制作牛肉片而出名。
The husband, Guo Zhaohua (郭朝華), and wife, Zhang Tianzheng (張田政), were particular about the beef slices they made, and often experimented with new ingredients.	丈夫郭朝华和妻子张田政对他们制作的牛肉片非常讲究，经常尝试新的原料。
As a result, their beef slices had a distinct taste from the other beef slice vendors, and their business boomed.	因此，他们的牛肉片与其他牛肉片商家的味道截然不同，生意也随之兴隆。
Often though, mischievous children would pull a prank on the couple, and stick paper notes that read fuqi feipian ("husband and wife lung pieces") on their backs, and sometimes people would yell the words out.	但调皮的孩子们常常捉弄这对夫妻，往他们背上贴上写有“夫妻肺片”字样的纸条，有时人们会大声念这些字。
Later on, a merchant tried the fuqi feipian and was so satisfied, he gave them a gold-lettered plaque that read fuqi feipian, and the name has stuck ever since.	后来一位商人尝了夫妻肺片，非常满意，送给他们一块写着“夫妻肺片”的金字牌匾，从此这个名称就流传至今。
To suit their customers' tastes, the couple made many improvements on the dish, and offal slices were eventually replaced by various beef or lamb slices.	为了适应顾客的口味，这对夫妻对这道菜做了许多改进，内脏薄片最终被各种牛肉片或羊肉片所取代。
Many people still preferred calling the dish fuqi feipian, thus the name is still used today.	许多人仍然喜欢把这道菜称为“夫妻肺片”，因此这个名称至今依然在使用。
The meaning of fei was originally waste parts or offal (廢) but later changed to lung (肺) so the dish sounded less repulsive.	“废”的意思是废物或内脏，但后来改为“肺”，因此这道菜听起来不那么令人厌恶。
The lung could be a part of this offal, but fei is not lung by itself in this dish's meaning.	肺可以作为内脏的一部分，但在这道菜中并不是指“肺”。
